7:07 [m. 138]--Theme 1. The first theme complex is greatly abbreviated.

The C-
minor

episode is cut, and this return, led into by the zigzagging upbeat octaves,
resembles

the second appearance in the exposition at 0:42 and 3:01 [m. 17]. The hands are

reversed from that presentation, however. The right hand takes the original long-
short-short

figures and the left follows them with the upward-shooting octaves. The left hand

makes things even more intense by adding a high rolled chord on the second beat of

each measure. The theme is expanded by one measure, the right hand again reaches

high, and the emphatic cadence on the “dominant” is intensified beyond that in the

exposition, tumbling down over left hand octave arpeggios.

7:22 [m. 145]--Transition. Analogous to 0:56 and 3:15 [m. 23]. The march-like
“fest

und bestimmt” theme and the non-dotted long-short-short figure in the bass are
heard

in the home major key of F, which would be expected of a second theme. But it
follows

the exposition exactly, being only transposed down a third. Thus, it moves to G

minor and then to D major, keys that have not yet been extensively used.
7:40 [m. 153]--Quieter transitional phrase, analogous to 1:14 and 3:33 [m. 31].

It begins in G major. The low and high alternations of the long-short-short

figures,

the upward leaps, and the hand crossings follow as before. The harmony moves
through

D minor to F major and the expected half-close. The repetition two octaves higher

follows as expected.
8:01 [m. 161]--Theme 2. It proceeds as at 1:34 and 3:54 [m. 39]. The first
phrase

is in F major, the second in A-flat major (creating a connection to the use of that

key in the exposition). The building chords and widely-spaced left hand
alternations

lead to an arrival point on B-flat, analogous to the D-flat of the exposition.

8:18 [m. 173]--Grand arrival in B-flat major. Analogous to 1:51 and 4:11 [m. 51].

A cadence in B-flat is avoided.

8:28 [m. 178]--Closing passage. Material from the beginning of Theme 2 with
chromatic

motion. Analogous to 4:20 and 2:00 [m. 56]. The left hand pedal point under the
contracting alternations is on F, creating anticipation for a cadence on B-flat.

As in the exposition, the cadence is diverted by a repetition of the entire phrase

an octave lower. Unlike the exposition, where the cadence in D-flat arrived and

was reiterated, the cadence in B-flat is completely avoided, never arriving. It

is instead broken off, led into a transition to the coda whose eventual goal is the

home major key of F, where the movement will end.

8:43 [m. 190]--Transition to Coda. The aborted cadence in B-flat is suppressed
even

more cruelly by a held note where it should come, creating mild syncopation. The

rocking pattern as the presumed cadence was approached then continues. The bass

pedal point gradually moves up to F-sharp, then to G, and the top notes of the
alternations

move up irregularly. When G is reached in the bass, a huge crescendo begins. The

top notes of the left hand alternations expand upward as the rocking motion
continues

in the right hand. The bass G implies C major, but C in turn serves as the
preparatory

“dominant” to F. In the last two bars of the transition, solid chords in both
hands

point to a cadence on C, but C is immediately converted to the preparatory chord

for an arrival on F. The left hand pedal finally hits C and becomes an octave,
leaping

up to four-note chords. This last measure slows down to add emphasis to the great

arrival on F major.
CODA
8:56 [m. 200]--The definitive arrival on F major is indeed triumphant. The four

bars that follow are similar to the huge statement of Theme 1 material in G-flat

from 6:23 [m. 119] in the development section. The metric ambiguity is heightened

even more by an addition of the long-short-short rhythm in powerful left hand

octaves

on the downbeat of each implied 2/4 measure. Brahms tips his hat to this moment

in the development by touching on G-flat halfway through the phrase. Another

arrival

on F is expanded into an unexpected fifth bar with highly chromatic chords marked

pesante. This extra measure disrupts the meter even more.

9:07 [m. 205]--The disruptive fifth bar of the preceding phrase leads into a
dissonant

chord at the beginning of this measure, creating two more implied 2/4 measures that

end on the downbeat. Brahms marks the following passage “Più animato.” Two loud

chords, widely spaced, leap inward to quieter, clipped chords. These chords are

on the second beat of each measure, creating extreme syncopation and almost the
sense

of a restoration of 3/4 with the downbeat shifting to the second beat. The pattern

then intensifies. The next chord, with a high right hand, acts as an upbeat to two

more huge leaps inward that remain loud and forceful. These also add new upbeats

after them, creating the impression of two measures in a broad 3/2 rather than four

in 3/4. But the proper sense of the downbeat is restored as another cadence is
approached.

9:20 [m. 214]--This cadence truly restores order. Six full chords descend from on

high in the right hand as six rising bass octaves oppose them in the left. Brahms

notates these as a 6/4 measure, presumably to add emphasis to the restoration of

the metric pulse. The right hand remains very high to the end. The single 6/4
measure

is followed by a third and final broad F-major cadence. Low octaves in grace notes

add emphasis and anticipation to the chords. The final F-major chord, with the
third

(A) on top, is held two bars, then reiterated three times, the last also held two

bars. The rolled left hand moves lower in the reiterations, then adds a slower
version

of the “grace notes” in an upbeat arpeggio to the last two-bar chord.

9:53 (runoff after 9:43)--END OF MOVEMENT [222 mm.]

2nd Movement: Andante - Andante espressivo; Poco più lento; Andante molto; Adagio

(Ternary form with extended coda). A-FLAT MAJOR--D-FLAT MAJOR, 2/4, 4/16, 3/8,
3/4,

and 4/4 time.

The movement is headed by the following poetic lines by Otto Inkermann under the

pseudonym C.O. Sternau:

Der Abend dämmert, das Mondlicht scheint,

Da sind zwei Herzen in Liebe vereint
Und halten sich selig umfangen.
(The evening dims in twilight, the moonlight shines,
There are two hearts united in love
And they embrace each other in rapture.)

A Section--A-flat major, Andante espressivo, 2/4 time.

0:00 [m. 1]--Part 1 (a). The theme is of exquisite beauty. It begins with a
descent

in thirds, starting with an upbeat. At the bottom, it turns around with an

expressive

trill. The left hand accompaniment undulates, moving the bass line down with the

melody. The end of the first phrase is accompanied by a wide arpeggio under a
half-close.

The second, complementary phrase is of the same shape, but makes a colorful turn

to the “exotic” key of C-flat major. The end of the phrase works easily back to

A-flat major by way of A-flat minor, which is the “relative” key to C-flat. The

phrase ends in a similar way to the first one, but it is extended by two measures,

with the arpeggios in the left hand leading to a cadence in A-flat.

0:29 [m. 1]--Part 1 (a) repeated. The second ending (m. 10b) deviates at the end

of the left hand arpeggio, which adds syncopation leading into Part 2 (b).
0:56 [m. 11]--Part 2 (b). The top line is marked ben cantando, or songfully. It

begins with an upbeat followed by repeated notes in a dotted (long-short) rhythm

which then descend. Pulsing, detached chords accompany below the top line in both

hands. The chords and melody are mildly chromatic. The top melodic line leaps up

high before descending, and the first phrase turns to E-flat major without a
cadence.

1:07 [m. 15]--The second phrase, which has the same contour, begins with the left

hand elegantly crossing the right with the upbeat and then continuing for a measure

before the right hand takes over. The left hand thus does not play the first
pulses.

When the right hand takes over the melody, the left imitates the opening repeated

notes in dotted rhythm below. The leap up is now in a very high register and
enhanced

by rolled chords. The phrase makes another motion on the circle of fifths and ends

in B-flat, again with no cadence.

1:18 [m. 19]--The phrase is extended, including a new descent in triplet rhythm
that
is passed between the hands. The closing gestures are reiterated. The right hand,

still very high, begins to circle around the closing figure as the pulsations stall

on the note D-flat and the triplet descent is reiterated in the left hand. The
left

hand uses the chromatic note F-flat (E) prominently. The music slows down and
becomes

quieter, shifting back home to A-flat. The pulses on the note D-flat help to re-
establish

that key, although it vacillates with its related key of F minor. The extension

ends on a half-close in A-flat.

1:34 [m. 25]--Part 3 (a’). Both the melodic line and the undulating accompaniment

are brought up an octave, and the right hand plays both, which requires dexterity.

The left hand holds a low octave pedal point E-flat under the first phrase and a

C-flat under the second phrase. It moves away from these long held octaves at the

arrival back on A-flat, where it again takes over the arpeggios, which now reach

much lower and are more widely spaced. The right hand, meanwhile, much higher than

the left, adds notes and rolled chords to the arrival on A-flat and the cadence.

The cadence itself is reiterated twice beyond what was heard in Part 1. The third

one is more final, and the music slows and quiets as the A section closes.
B Section--D-flat major, Poco più lento, 4/16 and 3/8 time.
2:08 [m. 37]--Part 1 (4/16 time). The lovely upbeat figure repeats a steady note

(A-flat) three times, adding a half-step, then a whole step (G-flat) below it to

transition to D-flat major. The choice of the highly unusual 4/16 time signature

is probably to keep the sixteenth notes at roughly the same speed as in the A
section

while avoiding the faster tempo implied by 2/8. Brahms marks the music “Äußerst

leise und zart” (“Extremely quiet and tender”). Over a throbbing pedal point D-
flat,

pairs of two-note harmonies alternate between the right and left hands, the hands

moving in opposite directions. After four measures, the left hand pauses. After

eight, it punctuates a cadence with a rolled chord.

2:24 [m. 45]--The next phrase is essentially a repetition of the first one, but the

right hand adds a tolling A-flat above each pair of two-note harmonies. The
harmony

is rolled up to this note. After four bars, the upper “tolling” note moves to D-
flat

above the second harmony of each pair (rather than the first). It then moves back

to A-flat (and the downbeat) above the last chord.

2:39 [m. 53]--The next group of 15 bars is treated as a single unit. The bass note

is no longer a sustained pedal point, but the pattern of two-note harmonies in

pairs

alternating between the hands is maintained. The first alternations of this phrase

are exceedingly beautiful and evocative. After four bars, a slow crescendo begins

and the key shifts down a step to C-flat. The bass notes become octaves and
alternate

between C-flat and F-flat. After ten bars, forte is achieved and the harmony,
through

chromatic motion, moves back to D-flat. The pattern is finally broken with a
right-hand

descent. The last measure leading into Part 2 already establishes its new 3/8
meter.

It is a beautifully protracted approach to an arrival point.

3:04 [m. 68]--Part 2 (3/8 time). The arrival point erupts into a heartfelt,
ardent,

and passionate melody in triple time. The left hand is very active and moves in

triplet rhythm. It is a combination of octaves and trills on two notes, D-flat and

E-flat. The melody itself is richly harmonized, adding rolled chords and
eventually

its own triplet rhythm in the fifth measure. The fifth, sixth, and seventh
measures

all repeat the same pattern beginning with that triplet rhythm. The seventh
measure

slows and diminishes in volume, leading to an extended, gentle cadence as the left

hand trills and octaves roll on to the reprise of Part 1.

3:27 [m. 77]--Part 3 (Part 1 partially repeated). The 4/16 meter returns, and the

second half of Part 1, the 15 bars from 2:39 [m. 53], is given a full reprise.

The crescendo and the forte are placed later (in the 11th and 14th measures,
respectively),

and Brahms indicates more freedom with the tempo than in the first playing, but the

notes are the same. The first two phrases of part 1 do not return.
3:54 [m. 92]--Part 4 (Part 2 repeated and slightly varied). The whole of Part 2

in 3/8 from 3:04 [m. 68] is also given a reprise, but Brahms does alter the harmony
and melody slightly, replacing G-flats with G-naturals, anticipating the return of

A-flat for the A’ section. This is most notable in the first two of the repeated

patterns beginning with the triplet rhythm. There, the left hand also shifts from

D-flat and E-flat to E-flat and F with added bass notes on A-flat, further
increasing

anticipation for the key of A-flat. G-flat returns in the last of these, and the

cadence is in D-flat as before.

4:15 [m. 101]--Re-transition. The two-bar cadence is repeated, but inflected to

D-flat minor, the left hand continuing its pattern on D-flat and E-flat. The
cadence

is then further varied and moved lower, still inflected to minor. But this time

it does not arrive on D-flat. The bass shifts up to E-flat, which becomes the
“dominant”

of A-flat. The last measure of the transition is in 2/4, preparing the return of

the main melody from the A section, which begins on the upbeat into the next
measure.

This measure also prepares the accompaniment for the first part of the A’ section,

which maintains the triplet pattern established in the 3/8 music, but adds
prominent

upper notes. These are colorful and chromatic in this preparatory measure.
A’ Section--A-flat major, 2/4 time.
4:27 [m. 106]--Part 1 (a). Brahms indicates that the slowing into the opening
tempo

should happen very gradually. The right hand is only very slightly adjusted from

the presentation at the beginning, with notes added to cover harmonies not in the

left hand. The left hand accompaniment now incorporates the triplet rhythm from

the 3/8 music of the B section and includes wide leaps. There is a constantly
reiterated

high E-flat in this flowing triplet accompaniment. A broken octave replaces the

arpeggio at the end of the first phrase. The high E-flats break during the phrase

in C-flat. The triplet rhythm is incorporated into the arpeggios under the
extension

of the last phrase and cadence, and they range rather widely. In the second half

of the last measure, the triplet rhythm finally breaks in anticipation of Part 2

(b).
4:55 [m. 116]--Part 2 (b). The first phrase is presented without substantial
alteration

from 0:56 [m. 11].

5:07 [m. 120]--The second phrase is presented without substantial alteration from

1:07 [m. 15].

5:18 [m. 124]--The extended closing phrase is presented without substantial
alteration

from 1:18 [m. 19].

5:35 [m. 130]--Part 3 (a’). Other than the fact that the accompaniment, now in the

right hand, is again in triplet rhythm (which makes it even more difficult to
negotiated

under the melody, but Brahms does remove the trills), the passage is very close to

1:34 [m. 25]. The pedal point E-flat and C-flat are present in the left hand as

before. The wide arpeggios under the extension and cadence are also in the triplet

rhythm. At the cadence, the left hand triplets suddenly move to a droning trill

on a low G and A-flat. Brahms explicitly places the trill in slurred two-note
groups,

which conflict with the triplet rhythm and create great ambiguity. The extension

of the cadence, described below, is greatly expanded from the one in the first A

section.
6:04 [m. 140]--The reiterations of the cadence make an early turn to D-flat, a turn

that is totally unexpected in a ternary form. The first reiteration uses the
harmony

of D-flat minor, not major, while the droning trill, still in triplet rhythm but

in two-note groups, continues below. The second reiteration returns to A-flat.

A third, moving lower, is again over D-flat-minor harmony. Finally, a fourth

reiteration,

even lower and in the tenor range, is on the “dominant” chord of D-flat,
anticipating

its firm arrival. The entire passage diminishes greatly in volume, reaching ppp

on the “dominant” chord. Under this chord, the first note of each left hand
triplet

is replaced by a rest, bringing the two-note slurs in alignment with the rhythm.

Coda--D-flat major, Andante molto/Adagio, 3/4 and 4/4 time.

6:21 [m. 144]--The gigantic coda takes on the life of a second B section, and
indeed
it is in the B section’s key of D-flat. It has a certain thematic affinity with

the 3/8 music of the earlier section as well, which becomes more pronounced as it

progresses. The marking “Andante molto” and the 3/4 meter indicate a broader
presentation.

It begins very quietly, ppp. A low throbbing pedal-point A-flat is established

that remains in force for the first two phrases. The melody itself is heavily
upbeat-driven,

with rich harmonies and an ardently passionate character similar to that of the B

section. The first phrase works upward, reaching a half-close.

6:46 [m. 151]--The first phrase is repeated an octave lower, with slightly varied

harmonies. A lower line, beginning with long tolling D-flats, is added below the

throbbing A-flat pedal point. The end of the phrase is altered to reach a full
close

instead of a half-close.
7:09 [m. 157]--Still very quiet and in the original higher register, the next
phrase

offers contrast, with more chromatic inflections to the melody and harmony. The

throbbing pedal-point wanders narrowly away from A-flat in the bass, and the lower

line below it is also more chromatic. After four bars, the pedal point settles on

A-natural and the harmony moves briefly, but unexpectedly, to the key of F major,

which then shifts to F minor. At this point, a powerful crescendo begins and the

melody begins to work up to its first climax. A triplet is added to the last two

upbeat figures, including a final bass descent, and the coming climax is indicated

pesante. The F-minor harmonies quickly move back toward D-flat for the arrival
point.

7:36 [m. 164]--The arrival is marked molto pesante and fortissimo. In very high

chords, the original phrase is stated in full harmonies and extended to eight
measures.

The pedal point in the bass is now in octaves on D-flat and, significantly, in
triplet

rhythm. After four bars, the octave triplets move away from D-flat and chromatic

harmonies are introduced. The presentation is very grand and triumphant. There

is imitation of the upbeat figures in the left hand, which plays these imitations

along with the continuing triplets. The cadence of the extended phrase does not
settle, but pushes forward, the octave triplets in the left hand returning to D-
flat,

the home keynote.

7:55 [m. 171]--The driving, passionate music presses forward, extending higher.

The pedal point is maintained in the left hand, but is decorated by wide leaps to

other notes. A second, even more powerful climax is approached. It arrives with

great intensity as the left hand triplets change to straight sixteenth notes on a

thick “dominant” chord in its unstable third inversion. The climax, intense as it

is, only lasts for one measure, and the music rapidly settles down in pitch and
volume.

The left hand chords return to triplet rhythm and then settle on D-flat octaves.

The cadence is extended over greatly diminishing volume. In the last measure, the

octave D-flats slow to straight rhythm and introduce halting rests on the last two

3/4 beats.
8:22 [m. 179]--The tempo is now “Adagio.” The volume is indicated as ppp. The
bass

octaves move down in a true chromatic line with full harmonies. Over this, the
right

hand, in the tenor range, plays what sounds like a statement of benediction. Its

last chords are extended with breathless anticipation. The “benediction” even ends

with a “plagal,” or “Amen” cadence. The last bar of the “benediction” changes to

4/4 meter (marked as common time). The chord is held for a full three beats, but

an upbeat is added for the final return of the theme from the A section, which is

in 4/4 time.
9:00 [m. 187]--The opening figure from the A section, marked con molto espressione,

returns, complete with its typical accompaniment pattern in the left hand. But it

is in the D-flat major of the coda, where the movement remarkably ends. For a
movement

to unambiguously begin and end on different key centers is extraordinarily unusual,

and this example is almost unique in Brahms (the Schicksalslied, Op. 54, is another

example). The figure works its way upward, very gently, but it suddenly erupts in

a final outburst of forte rolled chords that quickly settle down to four reiterated

rolled D-flat chords with the third, F, on top. They are approached by another
somewhat
altered “plagal” cadence. The last chord is held until it fades.
9:49--END OF MOVEMENT [191 mm.]

3rd Movement: Scherzo - Allegro energico (Scherzo with Trio). F MINOR, 3/4 time.

SCHERZO
0:00 [m. 1]--Part 1a. The opening approach is a huge arpeggio on a dissonant
“diminished

seventh” chord notated as grace notes before the downbeat. The first section of

Part 1 has two phrases. They establish the rollicking, swaggering rhythmic sweep

that characterizes the scherzo. The right hand octaves are supported by a left
hand

that treacherously leaps from low octaves on the downbeats up to mid-range chords

on the second and third beats. The first phrase moves from F minor to the
“subdominant”

key of B-flat minor in an incomplete close. The long-short rhythm broken by rests

is characteristic of the scherzo theme.

0:07 [m. 9]--The second phrase is similar to the first, also beginning with the
“diminished

seventh” grace-note arpeggio. It also ends on B-flat minor, but begins in E-flat

minor, approaching from the other direction. The second half of the phrase becomes

suddenly quieter and light. It reaches a full close with a rolled chord and
descending

arpeggio.
0:13 [m. 17]--Part 1b. In the next section, which begins back in F minor and also

has two phrases, the long-short octaves move to the left hand, establishing a
strong,

marching bass line. The right hand plays loud descending chords against them. The

second half of the phrase again becomes quiet and light, with smooth two-part
writing

in the right hand and single detached notes, still in the prevailing rhythm, in the

left. Again, the goal is B-flat.

0:19 [m. 25]--Mirroring Part 1a, the second phrase begins in E-flat minor and ends

in B-flat minor. The first four bars are similar to those of the first phrase.

The second half again becomes quiet and light, but it is extended and based on
leaps

of a fourth in the top voice. After four bars of the smooth leaps, the extension
leaps down an octave and reaches another full cadence in B-flat minor with a
descending

arpeggio in the higher register.

0:28 [m. 37]--Part 2. The bass line moves up by half-step in octaves, still at a

quiet level. Two half-step shifts are each followed by a high descending right
hand

arpeggio similar to the cadences in Part 1. When the bass octaves reach D-flat,

a sequence of arpeggios begins based on motion in both directions along the circle

of fifths. The left hand plays longer rising arpeggios in a slower long-short
rhythm

across two bars. The right hand continues to play the high, short, descending
leggiero

arpeggios derived from the Part 1 cadences. The first harmonies remain on the
“flat”

side: D-flat major, A-flat minor and major, E-flat minor.

0:34 [m. 46]--A chromatic alteration moves the arpeggios to the “sharp” side: E
major,

B major and minor, F-sharp minor. The note “D” is used as a pivot from B minor to

G. The bass stalls on G under four widening leaps. It begins to function as a

preparatory

“dominant” note. At the arrival on G, the volume also begins to build. It

eventually

reaches forte, and the left hand moves from its broad arpeggios to sharply
syncopated

dissonances that resolve downward by half step. The volume diminishes again as the

right hand arpeggios move lower and begin to trail away, the bass remaining
anchored

to the note G. The last left hand syncopation abandons the half-step descent in

favor of a more solid establishment of G.

0:46 [m. 63]--Re-transition. The bass on G suddenly merges into the head rhythm

of Part 1, the long-short figure broken by a rest. This rhythm is interrupted once

by a final descending right hand arpeggio, also on G. It is then heard again.

Finally,

the first note is cut off, and only the clipped “short-long” figure is heard.
Three

of these raise expectations for an arrival on C minor. These expectations are

thwarted

by a sudden jarring descent, with right hand octaves following the left hand notes.
 The descent, swelling in volume, leads not to C, but a level beyond that, the home

key of F minor and the return of the Part 1 material.

0:51 [m. 70]--Part 3 (Varied return of Part 1). The first phrase of Part 1a is
played

with some alterations. The grace-note arpeggio, which would be impractical after

the descending approach, is replaced by a full “diminished seventh” chord

harmonizing

the first beat. The first descending right hand octaves are imitated by the left

hand in the third measure. There are other subtle alterations to the left hand,

especially its low bass octaves. The last four of these descend, rather than
ascend

as they did before.

0:56 [m. 78]--The second phrase of Part 1a appears to begin in E-flat minor as
expected,

even beginning with the grace-note arpeggio. But the left hand is changed to an

arching pattern in octaves. The phrase stalls after two measures. The opening
gesture

is again heard in F minor, as at the beginning of the first phrase, but with the

arching octaves in the left hand. A third gesture reaches very high and begins a

long, loud, and treacherous octave descent in both hands outlining another
“diminished

seventh” chord, one that seems to move away from F minor. The right hand follows

the left after the beat, and the descending arpeggio plunges for four bars before

moving to a stepwise descent in a fifth.

1:02 [m. 87]--The passionate descent lands on a note, D-natural, that does not
belong

to F minor. But it begins a sequence that will firmly establish that key. Loud

octaves on the downbeats descend, then ascend, eventually landing on C, which acts

as the “dominant” to F minor. Each of these octaves leaps up to a higher chord on

the last beat of the bar. In the left hand, this chord is rolled. After this
eight-bar

sequence, an F-minor cadence is reiterated in the same rhythm, leaping down before

the two last chords, which are supported by solid F octaves in the bass. The
scherzo

portion ends with a two-measure pause.

TRIO (D-flat Major)
1:12 [m. 101]--Part 1. In stark contrast to the main scherzo, the trio section is

smooth and hymn-like, played entirely in warm chords and bass octaves. The first

two phrases support an arching melody with these chords, the second phrase rising

slightly higher. Both phrases hold the second chord for two measures, then become

more active. Both phrases end on the same half-close.

1:25 [m. 117]--The last phrase of Part 1 is extended. It immediately takes on a

darker color, turning to E-flat minor and establishing a pedal point low bass
octave

on E-flat. The swaying motion of the first two phrases and the chordal support are

maintained. The passage gently rises and falls. At the extension of the phrase,

both hands become chromatic, and the bass octaves rise by half-steps from E-flat

until they reach A-flat, the “dominant” of D-flat. The right hand becomes more
active,

chromatically winding downward. The first ending (mm. 129a-132a) prolongs two
dissonant

chords before moving to D-flat for the repeat.

1:37 [m.101]--Part 1 repeated. Restatement of the first two phrases.
1:50 [m. 117]--Restatement of the extended phrase beginning in E-flat minor. The

second ending (mm. 129b-132b) is subtly altered so that A-flat does not act as a

strong “dominant” pulling toward D-flat. In fact, the beginning of Part 2 is in

E-flat minor, the key of the extended phrase.

2:02 [m. 133]--Part 2. The opening music is very similar to the first phrases of

Part 1, but the key is E-flat minor and the phrase structure is irregular. A six-
bar

unit merges prematurely into a longer unit of eight bars, creating an unsettled
feeling.

The end of the eight-bar unit then itself merges into an extension of oscillating

chords using the unstable note F-flat, but otherwise suggesting the preparatory
“dominant”

of D-flat. A dissonant chord is held for four measures in the right hand as the

left hand octaves slowly inch upward chromatically until they again reach the
pivotal

note A-flat.
2:18 [m. 154]--The first phrase of Part 1 returns in D-flat major, with the right

hand an octave higher.

2:24 [m. 162]--The second phrase from Part 1 is expected, but it turns to the minor
key. Instead of arching down where expected, it continues to work up to the very

high register over held bass octaves. These high chords are breathlessly held over

bar lines, and they approach a cadence in C-flat major.

2:31 [m. 172]--The arrival on the rather remote C-flat is curiously satisfying, but

the bass immediately disrupts things by bringing back, most unexpectedly, the long-
short

rhythm of the main scherzo section. This rhythm works downward chromatically as

the high C-flat chord is reiterated on the weak third beat of the bar, then held.

At the same time, a powerful crescendo begins. When the bass again reaches the

crucial note A-flat on the scherzo rhythm, the right hand chord replaces C-flat
with

C-natural and the harmony is once again on the preparatory “dominant” chord of D-
flat

major.
2:36 [m. 180]--The climax of the trio section makes a glorious arrival. The chords

and bass octaves ring out like bells in a joyously arching motion. After eight
bars,

the music breaks into a descending arpeggio with the right hand following the left

after the beat, similar to the descent toward the end of the main scherzo before

1:02 [m. 87].

2:45 [m. 192]--The climax continues and becomes slightly more chromatic. The bass

assumes the shape, but not the rhythm of the main idea from the scherzo section.

The right hand chords again reach very high, the intensity builds, and a huge
cadence

in D-flat is expected. It is prepared, but never arrives, being cruelly cut off

by a pause.
2:52 [m. 203]--Transition to reprise of scherzo. The rhythm and shape of the main

scherzo idea has become pervasive, and now it is used as a transition to the
reprise

and to its key of F minor. The preparatory arpeggio, heard in grace notes in the

main section, is written out and takes up a measure of its own. The first
transitional

phrase, clearly based on the main scherzo idea, is still in the trio section’s key

of D-flat. The second, also preceded by a measured arpeggio, is in E-flat minor,

the trio section’s secondary key.

SCHERZO REPRISE
2:59 [mm. 211-212 (1)]--The reprise itself arrives by way of another measured
arpeggio

that takes the place of the unmeasured one in the first bar of the scherzo. It is

not a “diminished seventh,” but a tamer B-flat-minor chord. The last notated
measure,

m. 212, is equivalent to m. 1 except for the missing grace note arpeggio and the

first right hand harmony. The reprise is indicated with a sign leading back to m.

2. From that point, Part 1a follows as at the beginning with the first phrase
moving

from F minor to B-flat minor.

3:05 [m. 9]--Second phrase moving from E-flat minor to B-flat minor, as at 0:07.

3:10 [m. 17]--Part 1b. Long-short octaves in left hand and loud octaves in right

hand, as at 0:13.
3:16 [m. 25]--Second phrase with ending with smooth leaps and full cadence in B-
flat

minor, as at 0:19.
3:25 [m. 37]--Part 2. Bass line moving by half-steps, then circle-of-fifths
sequence

of descending arpeggios, as at 0:28.

3:31 [m. 46]--Arpeggios in “sharp” keys, buildup, and establishment of pedal point

on G, as at 0:34.
3:42 [m. 63]--Re-transition. Establishment of prevailing rhythm in bass, then
motion

back to F minor, as at 0:46.

3:47 [m. 70]--Part 3 (Varied return of Part 1). First phrase of Part 1a with added

imitation in the left hand, as at 0:51.

3:53 [m. 78]--Stalled second phrase leading to treacherous descending “diminished

seventh” arpeggio, as at 0:56.

3:59 [m. 87]--Final sequence with loud octaves leaping to chords, then final chords

and pause, as at 1:02.

4:18--END OF MOVEMENT [211 (+100) mm.; m. 212 is equivalent to the second m. 1]

4th Movement: Intermezzo (Rückblick) - Andante molto (Binary form). B-FLAT MINOR,

2/4 time.
Part 1--First Statement
0:00 [m. 1]--The subtitle “Rückblick” means “Backward Glance” or perhaps more
appropriately,

“Reminiscence.” The look back is toward the second movement, whose main theme is

transformed from a love song into a ghostly funeral march. The identity of the
theme
is unmistakable, although it is changed to minor and placed a step higher, on B-
flat

instead of its original A-flat. The descending line begins with an upbeat, as
expected,

but instead of a flowing accompaniment, it is harmonized in rather bare “horn

fifth”

style. The left hand bass adds another new element, a drum roll-like triplet
figure

that also evokes the Beethovenian “fate” rhythm and helps establish the key. The

first two gestures begin similarly. The first is a closed statement in B-flat
minor.

The second is subtly shifted down to A-flat major at the end, as confirmed by the

“fate” triplets.
0:21 [m. 5]--The second movement theme had descended and arched back upward. The

upward motion is now developed in the funeral march. Two such gestures are played

over a powerful crescendo and increasingly full harmony. The first closes at home

on B-flat after working back from A-flat, but changes it to major. The second
begins

forcefully, pesante, and with an upbeat triplet. It reaches higher and comes to

a powerful close on F minor, making a nod to the sonata’s principal key. The minor

to major pathway of the descents is thus mirrored in the ascents. The “fate”
triplets

confirm the cadences.

0:40 [m. 9]--The cadence on F is reiterated forcefully in a powerful chordal
descent,

with pounding “fate” triplets in the low bass. It first lands on F minor, as
before.

Then, in a second gesture of confirmation that reaches higher for a full cadence,

it is changed to F major, still punctuated by the “fate” triplets, which leap up

an octave. The arrival on F major is a climactic moment.

0:58 [m. 13]--Everything becomes suddenly quiet again after the huge arrival. The

main descending gesture of the theme begins again, this time harmonized as an eerie

“diminished seventh.” The “fate” triplets remain on F, which now appears to

function

as the “dominant” of the home key, B-flat minor. This is confirmed by the second

descending gesture. The triplet drum roll alternates between the low bass and the
tenor register three octaves higher.
1:16 [m. 17]--The descending gestures are reduced to two-note groups on the
upbeats,

widely harmonized in sixths and sevenths over the “fate” triplets in the tenor
range.

Two of these reach higher. A third begins, but it continues beyond the two-note

group for a full descent. This descent has a “deceptive” arrival on G-flat major

where B-flat minor is expected.

1:27 [m. 19]--The volume is now very quiet and subdued. What follows the
“deceptive”

motion is a highly strange and evocative passage of open fifths in both hands,
alternating

steadily up and down, with every voice forming a three-note arpeggio and the hands

constantly in contrary motion. The combination of the fifths in both hands results

in two alternating chords, both of which feature the foreign note F-flat. One
chord

is a “diminished seventh,” the other is the “dominant” of C-flat, a key that is

suggested,

but which never arrives. The resulting oscillation speeds up and then slows back

down, always remaining quiet and spectral. The last chord is re-notated so that

it can function in B-flat minor (as a so-called “augmented sixth chord”) instead

of the “dominant” of C-flat, which is never established. A reiteration is followed

by a full-measure pause. This pause, which breaks things off without resolution,

ends the first section or statement.

Part 2--Counterstatement
1:48 [m. 25]--A very quiet and ominous left hand tremolo begins on low octave F’s.

It occupies the measure before the upbeat of the theme. Against the tremolo, the

right hand begins the main funeral march theme (the transformed second movement
theme),

and plays the first two phrases as at the beginning, ending on B-flat minor and A-
flat

major. The right hand has no changes. The left hand continues the octave tremolo

through the first descent, including where the first “fate” triplets were heard.

From there, the remaining “fate” triplets are replaced with tremolo-like groups

of five notes in octaves.

2:10 [m. 30]--The tremolo and its derivatives end. The left hand returns to the
notes used in the first statement. The upward gestures against the crescendo are

heard as at 0:21 [m. 5], and the “fate” triplets return in their proper places.

The first phrase ends on B-flat as before. The second begins as before, with the

upbeat triplet and the marking pesante, but Brahms makes a sudden harmonic turn at

the end. The powerful close still has the same high top note (F), but the harmony

under it is changed to another bright B-flat-major chord, confirmed by “fate”

triplets,

indicating that the second half will remain in B-flat.

2:29 [m. 34]--The reiteration of the cadence follows, analogous to 0:40 [m. 9],
with

the pounding “fate” triplets, but both climactic arrivals remain firmly anchored

not only on B-flat, but on B-flat major. The second, very high arrival is almost

triumphantly confirmed by the “fate” triplets.

2:47 [m. 38]--The climax of the movement arrives. As the “fate” triplets continue

to hammer on the B-flat cadence, the right hand immediately turns back to minor.

An octave on the dissonant note C-flat in the tenor range hints at E-flat minor,

but the “fate” triplets will not allow the right hand to assert a new key despite

the valiant attempt. Extremely agitated, passionate chords, still featuring the

dissonant C-flat, work upward, then back down. Brahms indicates that the speed
should

increase. The volume and the speed then both settle back down. An extended
cadence

in B-flat-minor, still tinged by the persistent C-flat, is suddenly cut off in both

the right hand and the triplets.

3:12 [m. 44]--The opening descending gesture of the movement, at a very quiet
level,

is played an octave higher than its original statement. The left hand and its
“fate”

triplets do not accompany, so the “horn fifth” harmonies are bare. It turns toward

a half-close on the “dominant” note F. The left hand, sounding almost desolate and

with no harmony, then plays a new version of the main descending idea that comes

to a full close on a low B-flat.

3:40 [m. 50]--The “fate” triplets close the movement in a defeated manner, with
both

hands in the bass. Two motions to the “subdominant” chord of E-flat minor are
followed

by the final full cadence and held B-flat-minor chord.

4:09--END OF MOVEMENT [53 mm.]

5th Movement: Finale - Allegro moderato ma rubato; Più mosso; Presto; Tempo primo

(Rondo form with large triple coda). F MINOR/MAJOR, 6/8 time (with numerous
passages

in implied 2/2 or 4/4).

FIRST STATEMENT OF RONDO THEME (A)
0:00 [m. 1]--The galloping F-minor theme has a somewhat ominous quality. It begins

in the low range, in full chords with low bass notes. It has a typical 6/8 long-
short

swing at the outset, then it adds a clipped dotted rhythm. The response, which is

much quieter (pianissimo) leaps up to the high register and adds syncopation (entry

on the weakest parts of the measure). After the response, the music moves back to

the low range for a slower, cautiously questioning rising gesture.

0:11 [m. 7]--Another high syncopated response follows the questioning gesture, but

this time it is supported by very low bass octaves. Another rising, questioning

gesture comes next, this one in the upper range. The response this time is a
suddenly

loud, cascading pattern using the swinging rhythm of the theme. The pattern is
closed

off by the left hand leaping up to two prominent syncopated octaves. These are
dissonant,

craving a resolution toward the “dominant” chord on C.

0:21 [m. 15]--The “dominant” chord arrives forcefully and immediately moves into

two statements of the syncopated response, first high and harmonized in thirds,
then

lower, with bass octave support and in full harmony. The response is then
developed

in a large chromatic sequence marked sempre più agitato. This steadily rises with

ever more colorful chords over left hand octaves moving up and down by half-step,

becoming more and more unsettled and syncopated until it arrives on a loud, but
uneasy

F-minor chord in the preparatory “six-four” position.

0:33 [m. 25]--Transition. The left hand moves to a low bass octave on the
“dominant”

note, C. The right hand breaks into a rapid series of jagged descending arpeggios.
 The left hand then enters again with rising gestures against these arpeggios,
first

in thirds before landing on a low F octave, then rising up from that octave and
leaping

back down to G-flat, strongly suggesting B-flat minor. It finally rises to the
“dominant”

C again. At this arrival point, the arpeggios become softer, then actually slower

as Brahms indicates that four “straight” notes are to be played where six notes in

6/8 would normally be heard. The “dominant” now has another strong pull toward the

home key.
0:43 [m. 33]--Transition, cont. The right hand quietly hammers an octave on F.

Against it, the left hand plays descending octaves in the rhythm of the syncopated

response. The first group of octaves suggests B-flat minor/major, but the second,

whose final notes are repeated, is clearly in F again. It makes a late turn from

minor to major. The “hammering” octave is reduced to a single bare note leading

into the contrasting theme.

FIRST CONTRASTING THEME (B) – F major
0:50 [m. 39]--The theme is long and heartfelt, played in pure and rich F-major
chords

against murmuring thirds (sometimes briefly turning to fourths or seconds) in the

left hand. These thirds are approached by a wide arpeggio in each measure that
begins

with a punctuating bass note. Some measures also place a bass note in the middle.

The first phrase is has a wide breadth. Where it might be expected to close, it

is extended, briefly turning to “dominant” C-major harmony over steadily rising

bass

notes, and adding overlapping voices. It is extended by another five bars in F

major,

settling down to an extended half-close for an irregular total of thirteen

measures.

1:08 [m. 52]--The second phrase begins like the first, but its second gesture rises

higher. The turn to the “dominant” happens a couple of measures earlier. The
“murmuring”

pattern widens as far as a fifth. It is followed by another digression to A

minor/major.

This happens in eight bars. Three more bars meander back toward F over the same
basic pattern in the left hand.
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